The editing of video of sequences of images (e.g., films, video, slide shows), to achieve a desired reaction from an audience traditionally requires input from a human editor who employs techniques other than the mere sequencing of images over a time line. To achieve an understanding by the audience of the intended message or purpose of the production, the editor must draw upon human interpretation methods which are then applied to moving or still images that form the sequence.
Film makers use many techniques to obtain a desired meaning from images, such techniques including the identification and application of different shot types, both moving and still, the use of different camera angles, different lens types and also film effects. The process of obtaining meaning from the images that make up the final production commences with a story or message that is then translated into a storyboard that is used by the film crew and film director as a template. Once the film is captured, the editor is then given the resulting images and a shot list for sequencing. It is at an early stage of production, when the screen writer translates the written story or script to a storyboard, that written language becomes visual language. This occurs due to the method by which the audience is told the story and must interpret the message. The visual nature of a moving image generally only has dialogue relevant to the character's experience and, in most cases, is absent of explicit narrative relative to the story being told and the emotional state of the characters within the story. The screen writers must therefore generate this additional information using the visual language obtained from different shot types.
Examples of different shot types or images are seen in FIGS. 1A to 1G. FIG. 1A is representative of an extreme long shot (ELS) which is useful for establishing the characters in their environment, and also orientating the audience as to the particular location. FIG. 1B is representative of a long shot (LS) which is also useful for establishing the characters in their environment and orientating the audience as to the location. In some instances, an ELS is considered more dramatic than the LS. FIG. 1C is representative of a medium long shot (MLS) in which the characters are closer to the viewer and indicates, in a transition from a long shot, subjects of importance to the story. Typically for human subjects, an MLS views those subjects from the knees upwards. FIG. 1D is indicative of a medium shot (MS) in which human characters are generally shown from the waist upwards, and the shot assists the viewer interpreting the characters reactions to their environment and any particular dialogue taking place. FIG. 1E is indicative of a medium closeup (MCU) in which human characters are generally shown from the chest upwards. The MCU is useful for dialogue and communication interpretation including the emotion of the speaking characters. FIG. 1F is indicative of a closeup (CU) which for human characters frames the forehead and shoulders within the shot, and is useful for clear understanding of the emotions associated with any particular dialogue. The closeup is used to consciously place the audience in the position of the character being imaged to achieve a greater dramatic effect. FIG. 1G is representative of an extreme closeup (ECU) formed by a very tight shot of a portion of the face and demonstrates beyond the dialogue the full dramatic effect of intended emotion. An ECU can be jarring or threatening to the audience in some cases and is often used in many thriller or horror movies. It will further be apparent from the sequence of images in FIGS. 1A to 1G that different shots clearly can display different meaning. For example, neither of FIGS. 1F and 1G indicate that the subject is seen flying a kite, nor do FIG. 1D or 1E place the kite flying subject on a farm indicated by the cow seen in FIGS. 1A to 1C. Further, it is not apparent from FIG. 1A that the subject is smiling or indeed that the subject's eyes are open.
A photograph or moving image of a person incorporating a full body shot will be interpreted by the viewer as having a different meaning to a shot of exactly the same person, where the image consists of only a closeup of the face of the subject. A full-length body shot is typically interpreted by a viewer as informative and is useful to determine the sociological factors of the subject and the relationship of the subject to the particular environment.
An example of this is illustrated in FIGS. 2A to 2C which show the same subject matter presented with three different shot types. FIG. 2A is a wide shot of the subject within the landscape and is informative as to the location, subject and activity taken close within the scene. FIG. 2B is a mid-shot of the subject with some of the surrounding landscape, and changes the emphasis from the location and activity to the character of the subject. FIG. 2C provides a closeup of the subject and draws the audience to focus upon the subject.
Panning is a technique used by screen writers to help the audience participate in the absorption of information within a scene. The technique is commonly used with open landscapes or when establishing shots are used in movie productions. A straight shot, obtained when the camera does not move, contrasts the effectiveness of a pan. With a straight shot, the viewer is forced to move their eyes around the scene, searching for information, as opposed to how the pan feeds information to the viewer thus not requiring the viewer to seek out a particular message. The movement of the camera within a pan directs the audience as to those elements within a scene that should be observed and, when used correctly, is intended to mimic the human method of information interpretation and absorption. FIG. 3A is an example of a still shot including a number of image elements (e.g., the sun, the house, the cow, the person and the kite) which the audience may scan for information. In film, a still shot is typically used as an establishing shot so as to orientate the audience with the location and the relationship to the story. The screen writer relies upon this type of shot to make sense of any following scenes. FIG. 3B demonstrates an example of a panning technique combined with a zoom, spread amongst four consecutive frames.
Further, differing camera angles, as opposed to direct, straight shots, are often used to generate meaning from the subject, such meaning not otherwise being available due to dialogue alone. For example, newspaper and television journalists often use altered camera angles to solicit propaganda about preferred election candidates. For example, interviews recorded from a low angle present the subject as superior to the audience, whereas the presentation of the same subject may be altered if taken from a high angle to give an inferior interpretation. The same technique is commonly used in movie making to dramatically increase the effect of an antagonist and his victim. When the victim is shot from a high angle, he or she not only appears as weak and vulnerable, but the audience emphathizes with the character and also experiences the character's fear.
FIG. 4A is indicative of an eye level shot which is a standard shot contrasting with angles used in other shots and seen in FIGS. 4B to 4E. FIG. 4B shows a high angle shot and is used to place the subject in an inferior position. FIG. 4C is indicative of a low angle shot where the camera angle is held low with the subject projecting them as superior. FIG. 4D is indicative of an oblique angle shot where the camera is held off-center influencing the audience to interpret the subject as out of the ordinary, or as unbalanced in character. FIG. 4E is representative of a Dutch angle shot which is often used to generate a hurried, “no time to waste” or bizarre effect of the subject. The audience is conveyed a message that something has gone astray in either a positive or negative fashion.
There are many other types of images or shots in addition to those discussed above that can give insight to the particular story being presented. Tracking shots follow the subject allowing the audience the experience of being part of the action. Panning gives meaning and designates importance to subjects within a scene as well as providing a panoramic view of the scene. A “swish” pan is similar, however is used more as a transition within a scene, quickly sweeping from one subject to another, thus generating a blurred effect. Tilt shots consist of moving the camera from one point up or down, thus mimicking the way in which humans evaluate a person or vertical object absorbing the information presented thereby. A hand-held shot portrays to the audience that the filming is taking place immediately, and if often used to best effect when associated with shots taken when the camera is supported (e.g., using a tripod or boom).
To understand the impact visual language has on presenting images in a more meaningful way, it is appropriate to compare the results of contemporary motion pictures with earlier attempts of film making. Early examples of motion pictures consisted of full shots of the characters from the feet upwards reflecting the transition from stage acting. For example, the Charlie Chaplin era of film making and story telling contrasts sharply with later dramatic, emotion filled motion pictures. Pioneering director D. W. Griffiths notably first introduced the use of a pallet of shot types for the purpose of creating drama in film. This arose from a desire of the audience to explore the emotional experience of the characters of the film.
Film makers also use other techniques to tell their story, such techniques including the choice of lens and film effects. These are all used to encourage the audience to understand the intended message or purpose of the production. The audience does not need to understand how, or even be aware that, these techniques have been applied to the images. In fact, if applied properly with skill, the methods will not even be apparent to the audience.
The skill required by the successful film maker is typically only acquired through many years of tuition and practice as well as through the collaboration of many experts to achieve a successfully crafted message. Amateur film makers and home video makers in contrast often lack the skill and the opportunity to understand or employ such methods. However, amateur and home film makers, being well exposed to professional film productions have a desire for their own productions to be refined to some extent approaching that of professional productions, if not those of big-budget Hollywood extravaganzas. Whilst there currently exist many film schools that specialize in courses to educate potential film makers with such techniques, attendance at such courses is often prohibitive to the amateur film maker. Other techniques currently available that may assist the amateur film maker typically include software products to aid in the sequencing of images and/or interactive education techniques for tutoring prospective film makers. However, current software approaches have not been widely adopted due to prohibitive costs and skill required for use being excessive for small (domestic) productions.
Time is also a major factor in respect to the current techniques of film editing to unskilled editor. Typically, the time taken to plan shots and their sequencing is substantial and is typically out of the realistic scope of an average home/amateur film maker.
It is therefore desirable to provide a means by which unskilled (amateur) movie makers can create visual productions that convey a desired emotive effect to an audience without a need for extensive planning or examination of shot types.